King Creole

Michael Curtiz directs Elvis Presley (Danny Fisher) and Dolores Hart (Nellie) in King Creole (US 1958). The best Elvis movie. Michael Curtiz was always inspired by a strong rebel performer. Elvis Presley was the last of them, following Lili Damita, Bette Davis, James Cagney, Errol Flynn, Humphrey Bogart, Edward G. Robinson, John Garfield...

049763 / 16 / US / 1958 / Curtiz, Michael / / rock / crime

King Creole / King Creole / Kitara kainalossa / King Creole - kitara kainalossa. PC: © Hal B. Wallis and Joseph K. Gazzo. A Paramount Picture. P: Hal B. Wallis.

    D: Michael Curtiz. SC: Herbert Baker, Michael V. Gazzo - based on the novel A Stone For Danny Fisher by Harold Robbins. DP: Russell Harlan. 

    M: Jerry Leiber, Mike Stoller. ”Lover Doll”, ”Trouble”,”Young Dreams”, ”Hard Headed Woman”, ”King Creole”, ”Don’t Ask Me Why”. 

    CAST: Elvis Presley (Danny Fisher), Carolyn Jones (Ronnie), Walter Matthau (Maxie Fields), Dolores Hart (Nellie), Paul Stewart (Charlie Le Grand), Vic Morrow (Shark), Dean Jagger (Mr. Fisher - the Father). 

    111 min /25 fps/ = 116 min /24 fps/. B&w VistaVision. A Finnish release by Barium Video in 1983, lent from Helsinki City Library. Finnish subtitles. Cropped to Academy. Poor definition, soundtrack slightly damaged. Viewed in Helsinki on VHS PAL on Thursday 25 December 1997.

**** Pop culture endures the video transfer much better than Fritz Lang. Whereas Scarlet Street is caricature, this is a comic strip, and a good one. Elvis Presley performs strongly in his one note characterization as the singer / delinquent. The dialogue is excellent, and the whole cast seems to relish this New Orleans crime melodrama. Astounding accomplishment from that old Hungarian.

Charley Varrick

081990 / 16 cut / US / 1973 / Siegel, Don / / thriller

Charley Varrick / Tappakaa Charley Varrick! PC: Universal. EX: Jennings Lang. P+D: Don Siegel. SC: Howard Rodman, Dean Riesner - based on the novel by John Reese. DP: Michael Butler. M: Lalo Schifrin. CAST: Walter Matthau (Charley Varrick), Jacqueline Scott (Nadine Varrick), Andrew Robinson (Harman Sullivan), Felicia Farr (Sybil Fort), Sheree North (Jewell Everett), John Vernon (Maynard Boyle), Joe Don Baker (Molly). PAL TV transmission 5 December 1997 MTV3: 106’13” /25 fps/ = 110’39” /24 fps/. Cut: the scene where Molly tortures and slaughters Harman Sullivan (same scene was cut in the Finnish cinema release version). Cropped from 2,35 Panavision to 1,35 Academy. Finnish subtitles by Sirpa Glantz. Viewed on video Saturday, 6 December 1997. ***½ The screenplay is excellent. The dynamics between the bucolic scenes and the crisp bursts of action is perfect. They don’t make action films like this anymore. Almost everything in the 1990s is nervous and hysterical with the exception of Clint Eastwood who has not changed since his apprenticeship with… Don Siegel. Here the total sense of control is to be relished. Small things stand out. ”Nadine was a hell of a driver”. ”I never thought I’d be willing to trade places with a cow”. The complaint: Siegel’s customary nihilism. All betray. Trust nobody. So then: why care?

A Face In the Crowd

047628 / 08 / US / 1957 / Kazan, Elia / / drama

Face In the Crowd, A / Kasvot väkijoukossa. PC: Newtown Productions. A Warner Bros. release. P+D: Elia Kazan. SC: Budd Schulberg. DP: Harry Stradling, Gene Rescher. M: Tom Glazer. CAST: Andy Griffith (Larry ”Lonesome” Rhodes), Patricia Neal (Marcia Jeffries), Anthony Franciosa (Joey Kieley), Walter Matthau (Mel Miller). B&w Academy. 126’. MPAA Seal of Approval 16503. BBFC: Passed For Adult Audiences. A NFTVA print with fine definition. Viewed in Helsinki, SEA, Wednesday 26 November 1997. *** Great ideas in a pioneering satire on television and celebrity, visually fascinatingly detailed. But with the familiar Kazan cliches: histrionic performances and jarringly overstated naturalism with the trademark dirty, sweat-dripping undershirts. Kazan does not trust a minute in the viewer’s intelligence. Everything has to be overdone and exaggerated. Trouble is, he has no spirit of generosity to back the extravaganza. It gets terribly hollow and futile instead. Kazan is a man of drama, not spectacle. But he lacks the patience for pure drama. Someone shoulda put reins on him. He would have needed a good tough producer.